What I wish I'd known about Lenses sooner.

Summary

In this video, the photographer discusses the complexities of choosing the right lens, emphasizing that modern lenses are generally sharp enough for most needs. He critiques the popular phrase 'sharp, cheap, fast, pick two,' arguing that compromise is inevitable in all aspects of lens performance. The video touches on factors such as versatility, weight, and creative constraints, offering practical advice for photographers to choose lenses that meet their specific needs. The speaker also shares personal insights about the value of standard focal lengths and the importance of shooting with creative limitations, along with a mention of MPB, the sponsor.

Takeaways

• 😀 Modern lenses are sharp enough for most photography needs; sharpness is often not the issue when a photo doesn’t work.
• 😀 The phrase 'sharp, cheap, fast, pick two' is incomplete; other factors like size, weight, and versatility should also be considered.
• 😀 Fast lenses are great for low-light conditions, but their shallow depth of field can be more of a hindrance than a benefit for certain styles of photography.
• 😀 You can clean up noise in post-processing software (e.g., Lightroom), so there’s less need for extremely fast lenses in low light.
• 😀 Versatility in lenses isn’t just about zoom range—features like aperture rings and focus buttons can also make a big difference in ease of use.
• 😀 While zoom lenses are versatile, using them like prime lenses (starting at one focal length) can help you focus on composition rather than constantly zooming.
• 😀 The weight of your lenses has a big impact on your shooting experience; lighter lenses encourage more time spent shooting and less fatigue.
• 😀 The cost of carrying heavier lenses is often not worth it for casual photographers, even if the optical quality is superior.
• 😀 'Enough' should be the guiding principle when choosing lenses—don’t seek perfection, just find a lens that suits your needs.
• 😀 Lenses tend to have a longer lifespan than cameras, so choosing the right lens from the start is essential for long-term satisfaction.
• 😀 For beginners, shooting with standard focal lengths (e.g., 35mm, 50mm) or zooms used like primes can encourage better composition and creativity.

Q & A

What is the traditional phrase about lenses mentioned in the video, and why does the speaker disagree with it?

The traditional phrase is "sharp, cheap, fast — pick two." The speaker disagrees with it because he believes it is incomplete and overly simplistic. He argues that other important factors such as size/weight (which he calls "diminutive") and versatility should also be considered. Instead of "picking two," he suggests accepting compromises and aiming for what is "enough" for your needs.

Why does the speaker largely dismiss sharpness as a key concern when choosing modern lenses?

He believes that most modern lenses are already more than sharp enough for practical use. According to him, if a photo is unsuccessful, it is rarely due to insufficient sharpness. He suggests that lens performance today generally exceeds what most photographers require.

How did the speaker’s view on fast lenses (e.g., f/1.4 or f/1.2) change over time?

Initially, he associated fast lenses and shallow depth of field with high-quality photography. Over time, he realized that for his style of shooting, extreme background blur was often unnecessary and sometimes detrimental. He concluded that carrying heavy, expensive fast lenses for occasional use was not worth the trade-offs.

What are the trade-offs of using very fast lenses in low-light conditions?

While fast lenses allow more light and lower ISO settings, they also significantly reduce depth of field, which can alter how a scene is shot. The speaker argues that modern noise reduction software can produce clean images at higher ISOs, reducing the need for extremely wide apertures in low light.

How does the speaker define versatility in lenses?

He defines versatility not only as zoom range but also as functional features such as customizable buttons and aperture rings. He emphasizes that versatility should match actual needs rather than exceed them, as extra features or zoom range can add unnecessary weight and complexity.

Why does the speaker treat zoom lenses like prime lenses?

He believes that limiting himself to a single focal length, even when using a zoom, encourages creative constraints that improve composition. He typically starts at 40mm and only zooms when necessary, reducing compositional complexity and promoting more thoughtful photography.

What role do creative constraints play in the speaker’s photography philosophy?

Creative constraints help him produce stronger images by reducing variables and forcing more intentional composition. He argues that too much flexibility, such as constantly zooming, can complicate the learning process and weaken decision-making.

Why does lens weight matter more to the speaker than camera body weight?

Lens weight affects shooting comfort more because the lens extends further from the body, amplifying its impact during long shooting sessions. He finds that even a few hundred grams can significantly influence his willingness to carry the camera and shoot throughout the day.

What does the phrase "date the camera, marry the lens" mean in the context of the video?

It suggests that cameras are updated frequently, while lenses have longer lifespans. Therefore, photographers should invest carefully in lenses that truly suit their needs, as they are likely to keep them much longer than camera bodies.

What is the speaker’s core advice when evaluating lenses?

His main advice is to add the word "enough" to every desirable feature: sharp enough, fast enough, light enough, versatile enough, and affordable enough. Rather than chasing extremes, photographers should aim for balanced compromises that suit their actual needs.

Why does the speaker recommend standard focal lengths (e.g., 35mm, 40mm, 50mm) for beginners?

He believes standard focal lengths closely match natural human perspective and encourage stronger composition. Unlike ultra-wide or super-telephoto lenses, they don’t rely on visual exaggeration or "trickery," forcing beginners to find genuinely compelling subjects and compositions.

How does the speaker’s preferred 24–50mm f/2.8 lens embody his philosophy?

The lens is not the sharpest, fastest, lightest, or most versatile on the market, but it is sufficient in all these categories. It offers a compact size similar to a prime, adequate brightness, and practical zoom range. For him, it represents the ideal balance of compromises.